There is no room for emptiness in the work of Elena Aitzkoa, as she herself claims in her poetry:

There is no space for emptiness
No emptiness for nothing

Sculpture. Performance. Drawing. Poetry. Collage. Action. Blogs. Life. These are just some of the raw materials with which Elena works.

She uses them to construct her individual thoughts on life, explorations of a reality – internal and external – condensed into fragments of thought.

And thus Elena speaks to us of her secrets.

Her work is reminiscent of the Brazilian writer Clarice Lispector in terms of the poetry of her writing, in the importance of the seemingly banal, in capturing all sensations, in playing with unmasking the everyday and frosting it with a sensitive, mysterious veneer.

As with Lispector, the work of Aitzkoa is located in a field that is difficult to classify, a type of “non-style”, as the Brazilian writer would have said. Her work has been stripped of any narrative to appear more sensitive. She herself is her work.

And... and don't forget that the structure of the atom cannot be seen but nevertheless known. I know about lots of things I've never seen. And so do you. You can't show proof of the truest thing of all, all you can do is believe. Weep and believe.
Clarice Lispector. The Hour of the Star

Both love the world, to which they make a gift of their poetry, and it in turn returns the gift by revealing its tricks and ways to be able to view it differently thanks to their personal kaleidoscope.

But of the moon she was not afraid, because she was more lunar than solar and saw with eyes wide open in mornings so dark the moon sinister in the sky. Then she bathed all of herself in the moonlight, as there were those who sunbathed. And she became deeply limpid. Clarice Lispector: Aprendizaje o El libro de los placeres: Madrid: Siruela, 1989

Because the planets do not sleep, because the stars do not sleep at night seems a gift. Reality is concealed and revealed by distances. Our body as complicated and wonderful as the universe. Eyes, hands, feet, breasts and legs. Face. The human being who only wants to know the face, who does not want to know of what it is made. He only wants face and I just want to tell him of what it is made.
Elena Aitzkoa Reinoso: La Revolución de las Extremidades, Bilbao: Lalavandera, 2013

In Primitive Woman the artist establishes an inner monologue that speaks of the primal, of leaving the door ajar in order to always seek another way of looking at things, within a constant reflection of her limitations.

To return years later to that which was a path to make (so-called) “luck”, and feel like a new forest sprouting between everything fallen. How everything is entangled with a prehistoric order precisely there where we have interfered. (ib.)

Activities

Performance season: From the beginning of history

Elena will accompany her project with 3 performances focusing on recited texts, movement and the plastic arts, thus introducing us to her world of creation and the exhibition's own history.

Position for jug – Book launch: La Revolución de las Extremidades
Friday, 15 March at 8pm (Praxis Room

Our love was born in the Middle Ages
Friday 19 April at 8pm (Room Praxis)